The Collected Short Fiction by Thomas Ligotti Part 25

Those bells ringing on the mist-covered mountain signify that the Master of the Temple is dead. The fact of the matter is that the monks there finally killed him. It seems that a few years ago the Master of the Temple began to exhibit some odd and very unpleasant forms of behavior. He apparently lost all sense of earthly decorum, even losing control over his own body. At one point an extra head sprouted from the side of the Master's neck, and this ugly little thing started to issue all sorts of commands and instructions to the monks which only their lofty sense of decency and order prevented them from carrying out. Eventually the Master of the Temple was confined to a small room in an isolated part of the monastery. There, this once wise and beloved teacher was looked after like an animal. For several years the monks put up with the noises he made, the diverse shapes he took. Finally, they killed him.

It is whispered among students of enlightenment that one may achieve a state of being in which enlightenment itself loses all meaning, with the consequence that one thereby becomes subject to all manner of strange destinies.

And the monks? After the a.s.sa.s.sination they scattered in all directions. Some hid out in other monasteries, while others went back to live among the everyday inhabitants of this earth. But it was not as if they could escape their past by fleeing it, no more than they could rid themselves of their old master by killing him.

For even after the death of his material self, the Master of the Temple sought out those who were once under his guidance; and upon these unhappy disciples he now bestowed, somewhat insistently, his terrible illumination.

Salvation by Doom (1994).

First published in its original form in Crypt Of Cthulhu #68, 1989 as 'Gothic Horror', a section of Studies In Horror.

Also published in this revised form in: Noctuary.

The room in the tower seemed to have closed in upon him while he slept, so he measured it off again and found its dimensions to be unchanged. His mind still uneasy, he measured it a second time, and then a third. Then he awoke and measured it off a fourth time, pacing between the walls of the room in the tower. "I am measuring my own coffin," he whispered to himself while staring intently at the splotched stones of the floor.

Once again he examined every corner of his bare cell. Then he wandered over to the low, handleless door and, laying his cheek against the heavy, splintered wood, he squinted through the tiny openings in the iron grill, surveying the circular corridor of the tower. First he gazed in one direction and then, shifting over to the opposite side of the grill, in the other. Both directions offered the same view: cell door after cell door, each with an armed guard beside it, each progressively shrinking in the circular perspective of the corridor. It was the uppermost level of the castle's highest tower, a quiet place when all the prisoners were at rest. Then a tight-lipped moan broke the silence, waking him a second time from a second sleep. He measured off the dimensions of his cell once more, examining every corner, then surveyed the circular corridor through the tiny openings of the iron grill.

Once again he wandered over to the arch-shaped window of his prison cell. This aperture, the only means of escape aside from the low door, was constructed to include four pairs of sharp metal spikes: two pairs projecting from the right and left sides, two closing in from its top and bottom, and all forming a kind of cross whose parts did not quite join together. But these pointed impediments notwithstanding, there remained a perilous descent groundward. No means for securing either grip or foothold crucial for such a climb were offered by the castle's outer walls, nor was there any possibility of concealment, even during the darkest of the castle's watchful nights. Beyond the window was a view of sunlit mountains, blue sky, and rustling forest, a seemingly endless tableau of nature which in other circ.u.mstances might have been considered sublime. In the present circ.u.mstances the mountains and forests, perhaps the sky itself, seemed thick with human enemies and natural obstacles, making the mere dream of escape an impossibility.

Someone was now shaking him, and he awoke. It was the dead of night. Outside the window a bright crescent moon was fixed in the blackness. Within the room were two guards and a hooded figure holding a lamp. One of the guards pinned the dreamer to the floor, while the other reached underneath his ragged shirt, relieving him of a hidden weapon he had recently formed out of a fragment from one of the stone walls in the tower room. "Don't worry," the guard said, "we've been watching you." Then the hooded figure waved the lamp toward the doorway and the prisoner was carried out, his feet dragging over the dark stones of the floor.

From the room in the tower they descended-by means of countless stone staircases and long, torchlit pa.s.sages-to the deepest part of the castle far underground. This area was a complex of vast chambers, each outfitted from its cold, earthen floor to its lofty, almost indiscernible ceiling with a formidable array of devices. In addition to the incessant echoes of an icy seepage dripping from above, the only other distinguishable sound was the creaking of this incredible system of machinery, with the refrain now and then of an open-mouthed groan.

His body was put in harness and hoisted so that the tips of his toes barely grazed the floor. The hooded figure, through a sequence of signals, directed the proceedings. During a lull in his agony, the prisoner once again tried to explain to his persecutors their error-that he was not who they thought he was, that he was suffering another man's punishment.

"Are you certain of that?" asked the hooded figure, speaking in an almost kindly tone of voice which he had never used before.

At these words a look of profound confusion appeared on the prisoner's face, one quite distinct from previous expressions of mere physical torment. And although no new manipulations had been employed, his entire body became grotesquely arched in agony as he emitted a single unbroken scream before collapsing into unconsciousness.

"Waken him," ordered the hooded figure.

They tried, but his body still hung motionless from the ropes, hunched and twisting in its harness. He had already been revived for the last time, and his dreams of measurements and precise dimensions would no longer be disturbed, lost as they now were in a formless nonsense of nothingness.

New Faces in the City (1994).

First published in its original form in Crypt Of Cthulhu #68, 1989 as 'Unreal Horror', a section of Studies In Horror.

Also published in this revised form in: Noctuary.

One must speak of the impostor city.

There is never a design to arrive in this place. Destination is always elsewhere. Only when the end of one's journey is reached too soon, or by means of a strange route, may suspicions arise. Then everything requires a doubting gaze.

Yet everything also seems above sensible question. On the occasion that one has set out for a great metropolis, here the very site of antic.i.p.ation is found. Its monuments spread wondrously across bright skies, despite an unseasonable mist which may obscure its earthward landmarks.

But here, one soon observes, nightfall is out of pace. Perhaps it will occur unexpectedly early, bringing a darkness of an unfamiliar quality and duration. Throughout these smothering hours there may be sounds that press strangely upon the fringes of sleep.

The following day belongs to a dim season. And all the towers of the great metropolis have withered in a mist which now lies upon low buildings and has drawn a pale curtain across the sky.

Through the mist, which hovers thick and stagnant, the city projects the features of its true face. Drab, crumpled buildings appear along streets which twist without pattern like cracks between the pieces of a puzzle. Dark houses bulge; neither stone nor wood, their surface might be of decaying flesh, breaking away at the slightest touch.

Some of these structures are mere facades propped up by a void. Others falsify their interiors with crude scenes painted where windows should be. And where a true window appears there is likely to be an arm hanging out of it, a stuffed and dangling arm with a hand whose fingers are too many or too few.

Here and there sc.r.a.ps of debris hop about with no wind to guide them. These are the only things that seem to move in these streets, though there is a constant sc.r.a.ping noise that follows one's steps. If one pauses for a moment to look into a narrow s.p.a.ce between buildings, something may be seen dragging itself along the ground, or perhaps it has already laid itself across the street, obstructing the way that leads out of the city. This figure is only that of a dead-eyed dummy; yet, when someone tries to step over the thing, its mouth suddenly drops open. At the time this is the best the city can do-a sham of menace that has no life and deceives no one.

Only later-when, in disgust, one has left behind this place of feeble impostures-will the true menace make itself known. And it begins when familiar surroundings inspire, on occasion, moments of doubt. Then places must verify themselves, objects are asked to prove their solidity, a searching hand makes inquiries upon the surface of a window.

Afterward there are intense seizures of suspicion that will not abate. Everything seems to be on the verge of disclosing its unreality and drifting off into the shadows. And the shadows themselves collapse and slide down rooftops, trickle down walls and into the streets like black rain. One's own eyes stare absently in the mirror; one's mouth drops open in horror.

Autumnal (1994).

First published in Noctuary, 1994.

When all the landscape is dying, descending fragrantly to earth, we alone rise up. After light and warmth have pa.s.sed from the world, when everyone stands melancholy at the graveside of nature, we alone return to keep them company. This is our season to be reborn. The supple swish of summer trees has become a dry rattle in a cooling wind, and our ears begin to tingle as we lie dark and deep in our beds. Crinkled leaves scratch against our doors, calling us from our lonely houses.

We drift groggily out of the shadows: comfortably rooted in oblivion, we do not particularly enjoy being pulled up into the burning air for the amus.e.m.e.nt of some unknown mischief maker, some cosmic prankster, master of the trick. But perhaps there is an old farm where once abundant fields, neatly rowed, now lie fallow and abandoned by all but a few straggly stalks. We witness the scene and, with what remains of our mouths, we smile. Beneath a sharp scythe of moon, we now become eager to fulfill ourselves.

We do not hate the living, no more than night hates day; like them, we have been a.s.signed a task which we must execute as best we can. However put out we may feel, we are hopelessly superst.i.tious about shirking certain obligations, for there are some which even the power of a posthumous lethargy cannot refuse.

Thus, on nights when an icy rain is dripping from the eaves, when all barriers of light and luxuriance are down, our images appear to haunt and harrow. Crumpled silhouettes in doorways, crouching heaps in corners, emaciated shapes in cellars and attics-suddenly lit by a flash of lightning! Or perhaps illumed by the pa.s.sing flame of a candle, or the soft blue flush of moonlight. But there is really no shock, no surprise. The unfortunate witnesses of our insane truth were already driven half-witless with dread antic.i.p.ation. Our horror is an expected one, given the unnatural propensities of the season.

When the world goes gray on its way to white, every living heart summons us with its fear; and, if circ.u.mstances are favorable, we will answer. We take as many as we can back to the grave with us, because that is our task. Our senseless cycle is out of nature's season: we go our own way, deviates of matter longing to bring an end to the charade of all seasons, natural or supernatural.

And we are always dreaming of the day when all the fires of summer are defunct, when everyone like a shrivelled leaf sinks into the cooling ground of a sunless earth, and when even the colors of autumn have withered for the last time, dissolving into the desolate whiteness of an eternal winter.

One May Be Dreaming (1994).

First published in Noctuary, 1994.

Beyond the windows a dense fog spreads across the graveyard, and a few lights beam within hazy depths, glowing like old lamps along an empty street. Night is softly beginning. Within the window are narrow bars, both vertical and horizontal, which divide it into several smaller windows. At their intersections, these bars form crosses which have their own reflections, not far beyond the windowpanes, in those other crosses jutting out of the earth-hugging fog in the graveyard. To all appearances, it is a burial-ground in the clouds that I contemplate through the window.

Upon the window ledge is an old pipe that seems to have been mine in another life. The pipe's dark bowl must have brightened to a reddish-gold as I smoked and gazed beyond the window at the graveyard. When the tobacco had burned to the bottom, perhaps I gently knocked the pipe against the inside wall of the fireplace, showering the logs and stones with warm ashes. The fireplace is framed within the wall perpendicular to the window. Across the room is a large desk and a high-backed chair. The lamp positioned in the far right corner of the desk must serve as illumination for the entire room, a modest supplement to those pale beacons beyond the window. Some old books, pens, and writing paper are spread across the top of the desk. In the dim depths of the room, against the fourth wall, is a towering clock that ticks quietly.

These, then, are the main features of the room in which I find myself: window, fireplace, desk, and clock. There is no door.

I never dreamed that dying in one's sleep would encompa.s.s dreaming itself. Perhaps I often dreamed of this room and now, near the point of death, have become its prisoner. And here my bloodless form is held while my other body somewhere lies still and without hope. There can be no doubt that my present state is without reality. If nothing else, I know what it is like to dream. And although a universe of strange sensation is inspired by those lights beyond the window, by the fog and the graveyard, they are no more real than I am. I know there is nothing beyond those lights and that the obscured ground outside could never sustain my steps. Should I venture there I would fall straight into an absolute darkness, rather than approaching it by the degrees of my dying dreams.

For other dreams came before this one-dreams in which I saw lights more brilliant, a fog even more dense, and gravestones with names I could almost read from the distance of this room. But everything is dimming, dissolving, and growing dark. The next dream will be darker still, everything a little more confused, my thoughts... wandering. And objects that are now part of the scene may soon be missing; perhaps even my pipe-if it was ever mine-will be gone forever.

Those lights flickering in the fog seem the very face of infinity, the spare features of an empty mask. The clock begins to sound within the room and for a moment the silent void has found an echoing voice. Everything is dimming, dissolving... the next dream will be darker still. And when I awake the room will be darker, dissipating like a fog around me, a black fog in which everything will drown and all my thoughts will be gone forever.

But for the moment I am safe in my dream, this dream.

Beyond the window a dense fog spreads across the graveyard, and a few lights beam within hazy depths, glowing like old lamps along an empty street. Night is softly beginning.

Death Without End (1994).

First published in its original form in Crypt Of Cthulhu #68, 1989 as 'Macabre Horror', a section of Studies In Horror.

Also published in this revised form in: Noctuary.

To others he always tried to convey the impression that he lived in a better place than he actually did, one far more comfortable and far less decayed. "If they could only see what things are really like, rotting all around me."

Feeling somewhat morose, he closed his eyes and sank down into gloomy reflections. He was sitting in a plump, stuffed chair which was sprouting in several places through the worn upholstery.

"Would you like to know how it feels to be dead?" he imagined a voice asking him. "Yes, I would," he imagined answering. A rickety but rather proud-looking gentleman-this is how he imagined the voice-led him past the graveyard gates. (And they were flaking with age and squeaking in the wind, just as he always imagined they would.) The quaintly tilting headstones, the surrounding grove of vaguely stirring trees, the soft gray sky overhead, the cool air faintly fragrant with decay: "Is this how it is?" he asked hopefully. "Late afternoon in a perpetual autumn?"

"Not exactly," the gentleman answered. "Please keep watching." The gentleman's instruction was intended ironically, for there was no longer anything to behold: no headstones, no trees or sky, nor was there a fragrance of any kind to be blindly sensed.

"Is this how it is, then?" he asked once more. "A body frozen in blackness, a perpetual night in winter?"

"Not precisely," the gentleman replied. "Allow your vision to become used to the darkness."

Then it began to appear to him, glowing with a glacial illumination, a subterranean or extrastellar phosph.o.r.escence. Initially, the radiant corpse he saw seemed to be in a stiffly upright position; but he had no way of calculating his angle of perspective, which may actually have been somewhere directly above the full length of the body, rather than frontally facing its height. No less than its mold-spotted clothes, the flesh of the cadaver was in gauzy tatters, lips shrivelled to a powdery smudge on a pale shroud of a face, eyes dried up in the sh.e.l.ls of their sockets, hair a mere sprinkling of dust. And now he imagined the feeling of death as one previously beyond his imagination. This feeling was simply that of an eternally prolonged itching sensation.

"Yes, of course," he thought, "this is how it really must be, an incredible itch when all the fluids are gone and ragged flesh chafes in ragged clothes. A terrible itching and nothing else, nothing worse." Then, out loud, he asked the old gentleman: "Is this, then, how it truly feels to be dead? Only this and not the altogether unimaginable horror I've always feared it would be?"

"Is that what you would now have, this true knowledge?" asked a voice, though it was not the voice of the rickety and proud-looking old man he had first imagined. This was another voice altogether, a strange voice which promised: "The true knowledge shall be yours."

A long time pa.s.sed before his body was found, its bony fingers digging into the tattered material of a plump, stuffed armchair, its skin already crumbling and covered with the room's dust. His discoverers were some acquaintances who wondered what had become of him. And as they stood for a few numbed moments around the site of his seated corpse, a few of them absent-mindedly gave their collared necks or shirt-sleeved arms a little scratch.

Along with the trauma this unexpected discovery imposed, there was the lesser shock of the dead man's run-down home, which was not at all the place his acquaintances imagined they would find. But somehow it continued to be the better place of their imagination when-on autumn afternoons or winter nights-they recollected the thing they found in the chair, or simply reflected on the phenomenon of death itself. Often these musings would be accompanied by a tiny scratch or two just behind the ears or at the base of the neck.

The Unfamiliar (1994).

First published in its original form in Crypt Of Cthulhu #68, 1989 as 'Exotic Horror', a section of Studies In Horror.

Also published in this revised form in: Noctuary.

He had lost his guide-or else had been abandoned by this seething, wiry native of the city-and now he was wandering through strange streets alone. The experience was not entirely an unwelcome one. From the first instant he became aware of the separation, things became more... interesting. Perhaps this transformation had begun even in the moments preceding a full awareness of his situation: the narrow entranceway of a certain street or the shadowed spires of a certain structure appeared as mildly menacing to the prophetic edges of his vision, pleasantly threatening. Now his eyes were filled with the sight of an infinitely more ominous scene, and a truly foreign one.

It was near sundown and all the higher architectures-the oddly curving roofs, the almost tilting peaks-were turned into anonymous forms with razor-sharp outlines by the low brilliance in the west. And these angular monuments, blocking the sun, covered the streets below with a thick layer of shadows, so that even though a radiant blue sky continued to burn above, down here it was already evening.

The torpid confusion of the streets, the crudely musical clatter of alien sounds, became far more mysterious without the daylight and without his guide. It was as if the city had annexed the shadows and expanded under the cover of darkness, as if it were celebrating incredible things there, setting up all sorts of fabulous attractions. Golden lights began to fill windows and to fall against the crumbling mortar of old walls.

His attention was now drawn to a low building at the end of the street, and, avoiding any thought which might diminish his sense of freedom, he entered its lamplit doorway.